tag:blogger.com,1999:blog-51137003712701572712024-03-17T20:01:41.546-07:00 Contemporary Art Writing DailyUnknownnoreply@blogger.comBlogger3067125tag:blogger.com,1999:blog-5113700371270157271.post-84359496426963937942024-03-14T06:51:00.000-07:002024-03-14T06:54:15.380-07:00Life in Hell
Explaining the artworld to your therapist.Watch the full thing here"...an oscilloscope of various pitches of language: the high speech of disinterest against the low grovel of complaint. A comedy between the press release and what is said at the bar after. Therapy. Of art. And its interpretation. Of critique Vs complaint. Of trying to explain the artworld to your therapist, or mum...Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-47168210425684827842024-02-13T07:48:00.000-08:002024-02-13T07:48:20.964-08:00Zoe Leonard at Galleria Raffaella Cortese(link)Like the Calendar's mechanization of time, photography too asserts its frame as an artificial blocking. Of the world it renders like little cubes of meat, morsels. Of life that it embalms. Real geopolitical borders if you know what I mean. So the attempts to blur these lines with the filmic language of frames, with TIME, an attempt to give artifical motion, motion, life, is an admittance orUnknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-46746949059640920432024-02-13T07:32:00.000-08:002024-02-13T07:32:08.723-08:00 Past: Zoe Leonard at Whitney MuseumStuff, decay, waste, time; data visualization has become hot button for business, the ability to represent comes the ability to wield it, and not necessarily inhuman, around for ages with the question: how to mark time. ... In attempts to see subjective scales of time, we see wear on shoes, stores closing, passports stamped, fruit rotting in vain. Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-63479719344892095812024-02-12T14:23:00.000-08:002024-02-12T14:23:02.726-08:00 Peggy Ahwesh at Photography Exhibit(link)A myth that art should "speak for itself." So art always attempts hiding the text that it has become reliant on. Surreptitiously holds up the newspaper that acts as "proof of life," that there is thinking, that its corpus is still product, producing, useful. But admitting to the hostage situation is structurally more interesting than pretending it's simply class photo day, that artworks Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-1276057047220349222024-02-11T09:02:00.000-08:002024-02-11T09:26:15.753-08:00Past: Pentti Monkkonen"Monkkonen's box-trucks literalize the metaphor: painting as commodity vessels in transit. What were rectangular become parallel grams sent for accelerating markets. The vessels are moving fast, the trucks skull cab and silver toothed grill portend their too-fast-too-young market crash. The flow of brand. Graffiti, produce, logos, brushstrokes, artistic identities all Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-3833230151736816632024-02-10T10:13:00.000-08:002024-02-10T10:13:57.752-08:00Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-82151837001864769182024-02-09T07:06:00.000-08:002024-02-09T10:39:09.652-08:00Past: Jef GeysIf Geys' work is confusing, ever shifting, it is because it voids itself of the general markers that usually demarcate its sense/use/meaning. Geys' don't necessarily ordain a use, something "used to finish our homework" but instead images which flight in and out of an ability to read them for information. A language we are not necessarily tasked with translating but Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-61055871465157115752024-02-08T16:43:00.000-08:002024-02-08T16:43:04.499-08:00Art is the scissors. The canvas is the petri dish. The gallery is the imbecile's microscope. The artist is dead. The Press Release incants. The mall to explode again. You need a lot less bronze, with scissors this big. With wreckage this cool. All these Hot Topics to cut and crop meaning, from air. A bronzed trash purchased meaning from culture. It is my daily routine. My childhood. Manifesting aUnknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-34695729338327279732024-02-06T11:43:00.000-08:002024-02-06T11:43:19.000-08:00Nika Kutateladze at Modern Art(link)What is it with painters and the wastelands? Is it that the plains mirror the virtual plane of imagination, the blank void of painting, ready for projection?The Wasteland: Gertrude Abercrombie at Karma, Adrian Morris at Galerie Neu, Tala Madani at David Kordansky, Tala Madani at 303 Gallery, Alexandra Noel at Freedman Fitzpatrick, Atlantis, Maryam Hoseini at Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-44878889859999901452024-02-05T11:13:00.000-08:002024-02-05T11:13:20.035-08:00Michael Andrew Page at Project Native Informant(link)If you stack enough tents, do you get a glass stained cathedral? Preferably it is arbitrary methods to render an agnostic psychedelia. Rather than using a kaleidoscope to retroactively put a halo on its "content." It's a question of which direction we're looking, back towards the dwelling that loosely underpins these or towards the painting we should be dwelling. Cloister or Claustrum. Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-14465227843832746112024-02-02T10:37:00.000-08:002024-02-05T09:47:51.897-08:00Anselm Reyle at Tick Tack(link)This is just the epitome. The window display to.. what were already window displays? Reyle got blue chip on the petri-dishization of the flashy facade - a taxonomics of our shiny attracted culture. Turned iridescence into "contemplation." Simply by cutting it out and placing it in art's frame. It was way ahead of our current mass culture cargo cult art. But in an era of "experiential" Van Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-79797798303835637132024-02-02T06:57:00.000-08:002024-02-02T06:57:33.374-08:00Past: Jacob KassayIt's an old advertising truism that a every consumer, even the jaded, buys the emotions associated with a product more than the product itself. The buy-in being a broad sense of any investment, monetary, social, symbolic or otherwise. When selling a chair from a glossy mail order catalog photograph it on a beach to associate a lifestyle. Imagine these objects without this Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-84559055909526532812024-02-01T07:44:00.000-08:002024-02-01T07:44:33.144-08:00Adam Shiu-Yang Shaw at Towards(link)Words like "investigates," "interprets," "studies" are the satanic ritual for invoking art's eternal torment. Art's perpetual state of doing, art must never be done - instead a death-in-life mule generating MEANING. Meaning which has become itself a verb, its throbbing false pulse, kept alive for the sucking of more PR fodder. No PR will tell you it is done, what has been done, only the Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-82758431869154005722024-01-31T12:59:00.000-08:002024-01-31T12:59:01.502-08:00Naoki Sutter-Shudo at House of Gaga(link)From the detritus of our semio-catastrophe we re-erect old forms: the wreckage is placed back into the shape of airplane, or of the critic and its painting. (Of a world still generating meaning.) The ability to re-erect it stands in for it, a literal strawman, the wreckage magically invokes its whole. If it can be recreated surely it can be understood. A social ritual to create a collectiveUnknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-74267218188060384642024-01-31T06:22:00.000-08:002024-01-31T10:24:49.453-08:00Past: Naoki Sutter-Shudo"The souvenir acts as a placeholder for tourists urge... desire, likely some vestigial expression of our sexual selection's wiring, which is why so many of them are cute. ... The trinket functions like a flower, a desirous other, holding some promise. We don't know what it is for, but it feels for something. The flower was beautiful before we knew its sexual Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-38360854208758777732024-01-30T07:21:00.000-08:002024-01-30T07:21:26.210-08:00Georgina Treviño at Embajada(link)Both Rachel Harrison and the 00's hipster were responding to the shopping mall, which had exploded, semiotically, into chaos of sign systems. A tweety bird tee, Louis Vuitton boots, and a struggle mustache - and everyone was confounded. It was the aughts, you were intended to adhere to the rules that kept meaning rigid, in place. We all performed the ritual of dress to keep meaning orderedUnknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-56198017863383878462024-01-29T10:00:00.000-08:002024-01-29T12:10:22.651-08:00 Past: Doris Guo"beneath table settings, the underneath, the legs become the portal, cavern ... in the nocturnes, in the maw, against mother's legs clutched, we found worlds in forts constructed, in makeshift boxes, a certain heat to the darkness."Full: Doris Guo at BodegaUnknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-20740859238554646012024-01-26T14:00:00.000-08:002024-01-26T14:00:30.889-08:00Barbara Wesołowskam at Silke Lindner(link)Painting is already a memory, all art is already monument, a moment of mori, an object which transacts through time its x. There is no art that is decidedly present (besides perhaps Tinguely's Homage to New York.) Art is intended as preservation. Art is already rosed glass fetal pigs, embalmed for interminable annual dissection. You need not smear the rose pig in dirt to feign archaeology. Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-44099522241380463122024-01-25T13:25:00.000-08:002024-01-25T13:25:56.198-08:00JJ Manford at Derek Eller Gallery(link)The artist inventing interiors. From ether, a decor not previously existing, and yet they are so quotidian? There's pathos to inventing something so normal. Stock photographs. Is this trying to fit in? To conform? Plugging into the Matrix with its infinite karate, cars, stunts, and the guy invents .. a red dressed blonde? Desire so built around nostalgia. Because we've all sat here. Which Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-19556115407556713312024-01-24T09:57:00.000-08:002024-01-24T11:10:21.823-08:00 Past: Tishan Hsu"For years smartphones pressed to be seamless, this was the pinnacle of technologic interface, to lack the orifice that Hsu keeps pressing. A phone shouldn't look like it might drool, Instagram icons shouldn't look like a dank bathroom. Like Thek, or Lynch, the campiness is part of the grotesque. You take your phone away from face, a smear of your human grease marring its Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-51184885535838852172024-01-23T06:30:00.000-08:002024-01-23T09:31:25.843-08:00Past: Jos De Gruyter and Harald Thys
"Against Venetian statuary, against marble gods with triforks - de Gruyter and Thys is wantonly provincial, the unsophisticate, the stupid it is: turns out, despite centuries of looking up at them, we don't actually resemble Greek Gods. ""The groaning idiocy of the fringes, the plains of simpletons, us, you slurring, drooling everyone, the world, these Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-37188590298629126142024-01-22T12:44:00.000-08:002024-01-23T09:25:31.359-08:00Nancy Lupo at Veda(link)Amnesia is state of the world, object permanence reconstructed by its disposability, a spoon that is "one time use" and an entire machine is created to make that true, wastebaskets, garbage trucks, hulking green men, heaping landfills, oil rigs. Each plastic spoon is unique - one time use - and replaceable, infinite. Every sighting Capital has made the chocolate bar anew while paradoxicallyUnknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-58538939675600702592024-01-22T05:48:00.000-08:002024-01-22T11:51:36.884-08:00Past: N. Dash
"swatches of touch, the anthropological preserves of our dissolving physical world. These are like catalogs for its remains, our once sensual pleasure distributed over digital networks." "The Kunstkammer conveyed the patron's control of the world through its indoor, microscopic reproduction ... but no one is that hubristic today, these are about the loss of that, Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-56066312697269641742024-01-18T07:24:00.000-08:002024-01-18T07:24:23.531-08:00Arthur Okamura at House of Seiko(link)Okamura is probably too weird for the artworld, too elusive, slippery in content, not in a conceptual way, in a professorial painter way, too many ugly paintings, too much seasick gray, too much risk for jewels too complicated to sit easily behind desks. Content drifting between academic and symbolist, surreal, abstract. He worked with poets, a huge mistake. He represents an interesting Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5113700371270157271.post-22762128974389108182024-01-16T13:11:00.000-08:002024-01-16T13:11:17.946-08:00Paul Levack at Bodenrader(link)Levack's commitment to the greasy surface - not the juicy pleasure of painting but a leather film. Voiding the photograph's neutral glass, replaced with a repulsive vaseline lens, the soft focus of vintage pornography and sellotape handling on corporate landscapes, all a bit begrimed. Unknownnoreply@blogger.com